Medtner: 6 Fairy Tales, op. 51 (Milne)

Details

Description

Composed in the summer of 1928 in Normandy and dedicated to the Russian Cinderella (Zolushka) and Ivanushka-the-Fool, this enchanting cycle intertwines folk-inspired characters through six evocative piano miniatures. Although structurally concise—ranging from rustic dances to lyrical portraits—Medtner imbues each tale with rich textures, modal counterpoint, and his signature narrative flair. Rachmaninoff himself once enthused: “No one tells such tales as Kolya!”

Medtner was famously averse to modernism, a stance he shared with Rachmaninoff. He wrote, “Program music is only music in which the form itself and contents are dictated and justified by a certain program or subject matter.” His Skazki, Op. 51, reflect this belief through their structure and characterization. The tales employ traditional musical forms—sonata form in Nos. 3, 4, and 6; ternary form in Nos. 2 and 5—while remaining deeply rooted in Russian folklore through their themes, moods, and textures.

Notably, the cycle offers no explicit program titles or storylines, aside from the dedication. However, a rare description appeared in program notes from Medtner’s recital at Bryn Mawr College, Pennsylvania (January 14, 1930), stating:

“In the first tale the characters are introduced, the second is a song of Cinderella, the last a dance of the Fool.”

This single sentence becomes a key to building an imaginative narrative, centered on two timeless archetypes. While Zolushka and Ivanushka may seem to come from separate folk traditions, the Soviet folklorist Vladimir Propp emphasized that these figures often share functions across Russian folktales. Zolushka, distinct from Zamarashka (Dirty-Face), finds her counterparts in Aschenbrödel (German), Cendrillon (French), and the English Cinderella—always connected to ash, humility, and transformation.


1. Allegro molto vivace… e sempre leggierissimo (D minor)
This lively prologue introduces Cinderella and Ivanushka with gleeful interplay. Sprightly rhythms suggest Ivanushka’s naive dance, while chromatic jostling may evoke childish mischief—perhaps the teasing of his siblings. Concluding unexpectedly in G major, it sets a magical, mischievous tone.

2. Cantabile, tranquillo (A minor)
Gentle and graceful, this cantabile gem is often associated with Cinderella’s voice—a moment of stillness and lyrical reflection. Its modal coloring evokes the tone of an old folk song sung at twilight.

3. Allegretto tranquillo e grazioso (A major)
A brighter and more playful character emerges here. Perhaps this is Cinderella at ease, or Ivanushka dancing clumsily with joy. The music is light, elegant, and sprinkled with charm.

4. Allegretto con moto flessibile (F♯ minor)
This is the magic spell—the turning point of the tale. Medtner himself wrote of “sorcery afoot,” and this piece feels like a nocturnal enchantment. Its murmuring rhythm and sudden harmonic shifts conjure images of forest spirits and whispered secrets.

5. Presto (F♯ minor)
A whirlwind of energy, almost like a rustic dance or a chase through a village festival. It’s brief, explosive, and full of rhythmic vitality—a thrilling jolt in the unfolding narrative.

6. Allegro vivace sempre al rigore di tempo (G major)
Titled “Dance of the Fool,” this finale captures the joyous, stumbling charm of Ivanushka. It’s quirky, cheerful, and bursting with character—bringing the fairy tale cycle to a spirited and playful close.


TS:
00:00 - No. 1 in D minor
05:32 - No. 2 in A minor
09:16 - No. 3 in A major
12:52 - No. 4 in F sharp minor
16:56 - No. 5 in F sharp minor
19:08 - No. 6 in G major




Pianist: Hamish Milne